SALOMti
SALOME
A TRAGEDY IN ONE ACT
TRANSLATED FROM THE
FRENCH OF OSCAR WILDE
WITH SIXTEEN DRAWINGS
BY AUBREY BEARDSLEY
LONDON JOHN LANE '.. .,
THE BODLEY HEAD NEW YORK
-JOHN LANE COMPANY MCMXII
THE PERSONS OF THE PLAY
HEROD ANTIPAS, Tetrarch of Juctea
JOKANAAN, The Prophet
THE YOUNG SYRIAN, Captain of
the Guard
TIGELLINUS, A Young Roman
A CAPPADOCIAN
A NUBIAN
FIRST SOLDIER
SECOND SOLDIER
THE PAGE OF HERODIAS
JEWS, NAZARENES, ETC.
A SLAVE
NAAMAN, The Executioner
HERODIAS, Wife of the Tetrarch
SALOME, Daughter of Herodias
THE SLAVES OF SALOME
A NOTE ON "SALOME"
O A LOME has made the author's name a house-
hold word wherever the English language
is not spoken. Few plays have such a peculiar
history. Before tracing briefly the vicissitudes
of a work that has been more execrated than
even its author, I venture to repeat the
corrections which I communicated to the Morn-
mo Post when the opera of Dr. Strauss was
produced in a mutilated verson at Co vent Garden
in December, 1910. That such reiteration is
necessary is illustrated by the circumstance that
a musical critic in the Academy of December 1 7th,
1910, wrote of Wilde's "imaginative verses"
apropos of Salome a strange comment on the
honesty of musical criticism. Salome is in prose,
not in verse.
Salome was not written for Madame Sarah
Bernhardt. It was not written with any idea of
stage representation. Wilde did not write the
viii A NOTE ON "SALOME"
play in English, nor afterwards re-write it in
French, because he "could not get it acted in
English/' as stated by Mr. G. K. Chesterton on
the authority, presumably, of Chambers s Encyclo-
paedia or some other such source of that writer's
culture. It was not offered to any English
manager. In no scene of Wilde's play does
Salome" dance round the head of the Baptist,
as she is represented in music-hall turns. The
name "John " does not occur either in the French
or German text. Critics speak contemptuously
of " Wilde's libretto adapted for the opera." Ex-
cept for the performance at Covent Garden
which was permitted only on conditions of
mutilation, there has been no adaptation. Certain
passages were omitted by Dr. Strauss because the
play (which is in one act) would be too long with-
out these cuts. Wilde's actual words in Madame
Hedwig Lachmann's admirable translation are
sung. The words have not been transfigured into
ordinary operatic nonsense to suit the score. When
the opera is given in French, however, the text
used is not Wilde's French original, but a French
translation fitted to the score from the German.
A NOTE ON "SALOME" ix
Salome was written by Oscar Wilde at Torquay
in the winter of 1891-2. The initial idea of treat-
ing the subject came to him some time previously,
after seeing in Paris a well-known series of Gus-
tave Moreau's pictures inspired by the same
theme. A good deal has been made of his debt
to Flaubert's tale of Herodias. Apart from
the Hebrew name of "lokanaan" for the Bap-
tist the debt is slight, when we consider what
both writers owe to Scripture. On Flaubert's
Tentation de Saint Antoine Wilde has indeed
drawn considerably for his Oriental motives ; not
more, in justice it must be added, than another
well-known dramatist drew on Plutarch, Ban-
dello, and other predecessors. The simple syntax
was, of course, imitated directly from Maeter-
linck, who has returned the compliment by
adapting to some extent other features from
Salome in his recent play Mary Magdalene, a
point observed by the continental critics. Our
old friend Ollendorff, too, is irresistibly recalled
by reading Wilde's French; as he is indeed by
all of M. Maeterlinck's early plays. A famous
sentence in one of John Bright's speeches Wilde
x A NOTE ON "SALOME"
bodily transferred when he makes lokanaan say,
" J'entends dans le palais le battement des ailes
de 1'ange de la mort." Large portions of Holy
Writ, too, are incorporated. One of the musical
critics is particularly severe on some of the Bibli-
cal quotations from Ezekiel (spoken by loka-
naan). He finds them " typical of Wilde's
perverted imagination and tedious employment
of metaphor." To the more scholarly and truffle-
nosed industry of Mr. C. L. Graves I am indebted
for the discovery that Wilde probably got the
idea of Salome's passion for lokanaan from
Heine's Atta Troll, though it is Herodias, not her
daughter, who evinces it. Before this discovery
was announced in the Spectator, that too was
merely a disgusting invention of Wilde, who is,
of course, anathema to " the journal of blameless
antecedents and growing infirmities," as a well-
known statesman said so wittily.
So much for the origins or plagiarisms of
Salome. It is well to remember also the many
dramas and ballets composed by various French
writers, including Massenet's well-known opera
Herodiade, composed in 1881, and performed in
A NOTE ON "SALOME" xi
1904 at Covent Garden with the title Salome.
All of these were taken directly from the story
told by St. Mark or Flaubert ; nearly all of them
are now forgotten. Wilde would certainly have
seen one by Armand Sylvestre. Sudermann's
Johannes, from which Wilde is also accused of
lifting, did not appear imtrl 1898, several years
later. Needless to say, there is no resemblance
beyond that which must exist between any two
plays in which John the Baptist and Herod are
characters. Wilde's confusion of Herod Antipas
(Matt. xiv. 1) with Herod the Great (Matt. ii. 1)
and Herod Agrippa the First (Acts xii. 23) is in-
tentional. He follows a mediaeval convention of
the mystery plays. There is no attempt at accu-
rate historical reconstruction.
Madame Bernhardt, who in 1892 leased the
Palace Theatre for a not very successful London
season, had known Wilde from his earliest days.
She has recorded her first meeting with him at
Dover. He was constantly at the theatres where
she was acting in London. She happened one
day to say that she wished Wilde would write a
play for her. One of his dramas had already
xii A NOTE ON "SALOME"
appeared with success. He replied in jest that he
had done so. Ignorant, or forgetful, of the Eng-
lish law prohibiting the introduction of Scrip-
tural characters on the stage, she insisted on
seeing the manuscript, decided on immediate
production, and started rehearsals. On the
usual application being made to the Censor for
a licence it was refused. This is the only
accurate information about the play ever
vouchsafed in the Press when the subject of the
opera is under discussion. Wilde immediately
announced that he would change his nationality
and become a Frenchman, a threat which in-
spired Mr. Bernard Partridge with a delightful
caricature of the author as a conscript in the
French Army (Punch, July 9th, 1 892).
The following year, 1893, the text was passed
for press, the late M. Marcel Schwob told me, by
himself. He made only two corrections, he in-
formed me, because he was afraid of spoiling the
individuality of Wilde's manner and style by
transmuting them into more academic forms and
phrases. I have learned since, however, that
Mr, Stuart Merrill, the well-known French-
A NOTE ON "SALOME" xiii
American writer, a great friend of Wilde,
was also consulted, and that M. Adolph
Rette and M. Pierre Louys (to whom the
play is dedicated) claim to have made re-
visions. But no one who knew Oscar Wilde
with any degree of intimacy would admit that
Salome, whatever its faults or merits or de-
rivations, owed anything considerable to the
invention or talents of others. Emerson said
that " no great men are original." However this
may be, Salome is more characteristic and typical
of Wilde's imperfect genius, with the possible
exception of The Importance of Being Earnest,
than anything else he ever wrote. The sculp-
tor must get his clay or bronze, his marble and
his motives from somewhere, just as the painter
his pigment and models. How much more does
this apply to the dramatist ? The play was pub-
lished in French simultaneously by Messrs. Elkin
Ma thews and John Lane in London and by the
Librairie de 1'Art Independant in Paris in 1893.
It was assailed by nearly the whole Press. But there
was one exception : that of Mr. William Archer
in Black and White. Now that Salome has become
xiv A NOTE ON "SALOME"
part of the European dramatic repertoire, though
so often consigned to oblivion by two generations
of dramatic critics and though the fungoid
musical critics have spawned all over it, Mr.
Archer's words have a special and peculiar
interest :
" There is at least as much musical as pictorial
quality in Salome. It is by methods borrowed from
music that Mr. Wilde, without sacrificing its
suppleness, imparts to his prose the firm tex-
ture, so to speak, of verse. Borrowed from
music may I conjecture through the mediation of
Maeterlinck. . . . There is far more depth and body in
Mr. Wilde's work than in Maeterlinck's. His characters
are men and women, not filmy shapes of mist and
moonshine. His properties are far more various and
less conventional. His . . . palette is infinitely richer.
Maeterlinck paints in washes of water-colour. Mr.
Wilde attains to depth and brilliancy of oils. Salome
has all the qualities of a great historical picture,
pedantry and conventionality excepted." Black and
White, March llth, 1893.
I do not know that Mr. Archer liked the play
particularly or that he likes it now, but at all events
he had the foresight and the knowledge to realise
that here was no piece of trifling to be dismissed
with contempt or assailed with obloquy. Mr.
A NOTE ON "SALOM^" jcv
Archer has fortunately lived to see a good many
of his judgments justified, and beyond emphasising
his interesting anticipation of the eventual place
Salome was to occupy in musical composition,
I need pay no further tribute to the brilliant
perception of an honoured contemporary. The
Times, while depreciating the drama, gave its
author credit for a tour de force in being capable
of writing a French play for Madame Bernhardt,
and this drew from Wilde the following letter,
which appeared in the Times on March 2nd,
1893:
" SIR, My attention has been drawn to a re-
view of Salome which was published in your
columns last week. The opinions of English
critics on a French work of mine have, of course,
little, if any, interest for me. I write simply to
ask you to allow me to correct a misstatement
that appears in the review in question.
" The fact that the greatest tragic actress of any
stage now living saw in my play such beauty that
she was anxious to produce it, to take herself the
part of the heroine, to lend to the entire poem
the glamour of her personality and to my prose
the music of her flute-like voice this was
xvi A NOTE ON "SALOME"
naturally, and always will be, a source of pride
and pleasure to me, and I look forward with
delight to seeing Mme. Bernhardt present my
play in Paris, that vivid centre of art, where
religious dramas are often performed. But my
play was in no sense of the words written for
this great actress. I have never written a play
for any actor or actress, nor shall I ever do so.
Such work is for the artisan in literature not for
the artist.
" I remain, Sir, your obedient servant,
" OSCAR WILDE."
The Censor was commended by all the other
reviewers and dramatic critics. Never has that
official been so popular.
In 1894 Messrs. Mathews and Lane issued an
English translation of Salome by Lord Alfred
Douglas. The illustrations of Aubrey Beardsley
which it contained were received with even
greater disfavour by reviewers and art critics.
A few of the latter, the late P. G. Hamerton
and Mr. Joseph Pennell among others, realised,
however, that a new artistic personality had
asserted itself, and that the draughtsman was, if
A NOTE ON "SALOME" xvii
anything, hostile to the work he professed to
embellish. Heir Miergraefe, the German critic,
has fallen into the error of supposing that
Beardsley's designs were the typical pictorial
expression of widespread admiration for Wilde's
writings. They are, of course, a mordant, though
decorative, satire on the play. Excellent carica-
tures of Wilde may be seen in the frontispiece
entitled "The Woman in the Moon" (Plate 1)
and in "Enter Herodias" (Plate 9). The colo-
phon is a real masterpiece and a witty criticism
of the play as well. The impression the drawings
have produced, not so much in England but in
Europe, may be gauged by reference to the
work of the same German critic, who in his
universal survey of modern art allows only three
artists of the English School separate chapters to
themselves the three being William Morris,
Whistler, and Beardsley.
By connoisseurs of Beardsley's work the Salome
set of drawings is regarded as the highest
achievement of a peculiar talent. In England,
from constant reproductions and exhibition, they
were more familiar to the public than the text
XV111
A NOTE ON "SALOME
of the play, until the revived interest in Wilde's
writings.
And here I may warn collectors against the
numerous forgeries of the originals which are
continually offered in the English and American
markets. Of the sixteen drawings fourteen are
still in the possession of Mr. John Lane. One
("Toilette," Plate No. 12) is in the possession of
the present writer, and "Enter Herodias"
has recently passed from the collection of Mr.
Herbert Pollit to that of Mr. W. D. Hutchinson.
There is a coloured design of Salom6, one of
Beardsley's very few coloured drawings, belong-
ing to Miss Doulton. This was never intended
as an illustration for the play in published form,
but on being shown to Mr. Lane suggested to
him the idea of commissioning Beardsley to
illustrate the English version of the play
(Marillier, "Early Work of Aubrey Beardsley,"
page 23). All others are spurious.
In 1896, when Wilde was still incarcerated at
Reading, M. Lugne-Poe, the poet and actor, pro-
duced Salome at the Theatre de 1'CEuvre in
Paris. It was coldly received. But the author,
A NOTE ON "SALOME" xix
who heard of its production, refers pathetically
to the incident in one of his letters to me from
prison :
" Please say how gratified I am at the perform-
ance of my play, and have my thanks conveyed
to Lugne-Poe. It is something that at a time of
disgrace and shame I should still be regarded as
an artist. I wish I could feel more pleasure, but I
seem dead to all emotions except those of anguish
and despair. However, please let Lugne-Poe
know that I am sensible of the honour he has done
me. He is a poet himself. Write to me in answer
to this, and try and see what Lemattre, Bauer,
and Sarcey said of Salome"
Within two years of Wilde's death, Salome was
first produced in Berlin on November 15th, 1902,
at the Kleiner Theater, where it played for two-
hundred nights, an unprecedented run for the
Prussian capital. From that moment it became
part of the repertoire of the German stage, and
draws crowded, enthusiastic houses whenever it
is revived. At Munich particular attention is
given to the staging and mise-en-scene. The late
Professor Furtwangler was said to have person-
b
xx A NOTE ON "SALOME"
allv supervised the " Dance of the Seven Veils,"
which is rendered with scrupulous regard to
archaic conventions. (In the opera the dance is
except in the case of Madame Ackt seldom
more than a commonplace ballet performance,
and is usually executed by a super.) Techni-
cally the interlude of the dance interferes with
the tense dramatic unity of the play (though
this is less noticeable in the opera), and is one of
many indications that Salome was not originally
composed for the stage.
In May, 1905, the New Stage Club gave two
private performances (the first in this country) at
the Bijou Theatre, Archer Street. A new genera-
tion of dramatic critics was more severe than its
predecessor, but displayed less acquaintance with
Scripture ; objection was again raised by one of
them to certain phraseology, quoted from Holy
Writ, "as the diseased language of decadence."
In June, 1906, the Literary Theatre Society gave
further performances. This last production was
distinguished by the exquisite mounting and
dresses of Mr. Charles Ricketts. The role of
Herod was marvellously rendered by Mr. Robert
A NOTE ON "SALOME" xxi
Farquharson ; that of Herodias by Miss Florence
Farr. The National Sporting Club, Covent Garden,
was the odd locality chosen for an illicit entertain-
ment, on which the critics again fell with exacer-
bated violence. Another and very inadequate
production occurred at the Court Theatre in
February, 1911. Such is the remarkable history
of a drama that shares the distinction or noto-
riety of Beckford's Vathek, in being one of
the only two considerable works written
by an English author in French. Mr.
Walter Ledger, the bibliographer, records,
exclusive of the authorised French texts, over
forty different translations and versions. These
include German (seven), Czech, Dutch, Greek,
Italian, Magyar, Polish, Russian, Spanish,
Catalan, Swedish, and Yiddish translations,
in all of which languages it is performed.
The play is often performed at the American
Yiddish theatres. There is a popular Yiddish
text sold for fivepence in London, where it is
whispered that, unknown to the Censor, the play
can also be seen in the Yiddish tongue. The
authorised original French text is included in the
uniform Methuen editions of Wilde's works.
xxii A NOTE ON "SALOME"
According to an interview with Dr. Strauss in
December, 1905, when his opera was first pro-
duced in Dresden, the composer's attention
was first drawn to the possibilities of Salome
by a Viennese who had prepared a libretto
based on Wilde's work. This seemed to him
unsatisfactory, and he turned to the original, or
(to be precise) to Madame Lachmann's German
translation.
A young French naval officer, Lieutenant
Mariotte, a native of Lyons, unaware that a dis-
tinguished competitor was in the field before
him, composed an opera round Salome, for
which he used the original French text. It was
produced in 1911 in Paris, and ran concurrently
with the work of Dr. Strauss. Mr. Henry
Hadley, an American composer, has composed a
i( symphonic poem " round Wilde's motive. This
was performed at Queen's Hall in August, 1909-
The burlesque dances of Miss Maud Allan and
her rivals are also well known. It is noteworthy
that the former appeared first at the Palace
Theatre where, sixteen years earlier, the play
was prohibited. It would be idle to deny that the
COVER DESIGN
A NOTE ON "SALOME" xxiii
origin of the dance was the extraordinary popu-
larity of Wilde's play on the Continent a
popularity that existed at least four years before
the production of Dr. Strauss' s opera.
With reference to the charge of plagiarism
brought against Salome and its author, I venture
to mention a personal recollection. Wilde com-
plained to me one day that someone in a well-
known novel had stolen an idea of his. I
pleaded in defence of the culprit that Wilde
himself was a fearless literary thief. " My dear
Robbie/' he said, with his usual drawling em-
phasis, " when I see a monstrous tulip with four
wonderful petals in someone else's garden, I am
impelled to grow a monstrous tulip with Jive
wonderful petals, but that is no reason why
someone should grow a tulip with only three
petals." That was Oscar Wilde.
ROBERT Ross.
LIST OF THE PICTURES
BY AUBREY BEARDSLEY
THE MOON
frotttltpi
TITLE PAGE ....
COVER DESIGN
LIST OF THE PICTURES .
THK PEACOCK SKIRT
THE BLACK CAPE.
A PLATONIC LAMENT .
JOHN AM) SALOME
ENTER HEROIHAS . ,
THE EYES OK HEROD .
THE STOMACH DANCE .
THE DANCER'S REWARD
THE TOILETTE
OK SALOME
THE CLIMAX
CUL DE LAMPE
SALOME
SCENE
[A great terrace in the Palace of Herod, set above the
banqueting -hall Some soldiers are leaning over the
balcony. To the right there is a gigantic staircase, to
the left, at the back, an old cistern surrounded by
a wall of green bronze. Moonlight.}
THE YOUNG SYRIAN
How beautiful is the Princess Salome to-night !
THE PAGE OF HERODIAS
Look at the moon ! How strange the moon
seems ! She is like a woman rising from a tomb.
She is like a dead woman. You would fancy she
was looking for dead things.
THE YOUNG SYRIAN
She has a strange look. She is like a little
princess who wears a yellow veil, and whose feet
are of silver. She is like a princess who has
little white doves for feet. You would fancy she
was dancing.
2 SALOME
THE PAGE OF HERODIAS
She is like a woman who is dead. She moves
very slowly. [Noise in the banqueiing-hall.]
FIRST SOLDIER
What an uproar ! Who are those wild beasts
howling ?
SECOND SOLDIER
The Jews. They are always like that. They
are disputing about their religion.
FIRST SOLDIER
Why do they dispute about their religion ?
SECOND SOLDIER
I cannot tell. They are always doing it. The
Pharisees, for instance, say that there are angels,
and the Sadducees declare that angels do not
exist.
FIRST SOLDIER
I think it is ridiculous to dispute about such
things.
THE YOUNG SYRIAN
How beautiful is the Princess Salome" to-night !
THE PEACOCK SKIRT
SALOME 3
THE PAGE OF HERODIAS
You are always looking at her. You look at
her too much. It is dangerous to look at people
in such fashion. Something terrible may happen.
THE YOUNG SYRIAN
She is very beautiful to-night.
FIRST SOLDIER
The Tetrarch has a sombre look.
SECOND SOLDIER
Yes ; he has a sombre look.
FIRST SOLDIER
He is looking at something.
SECOND SOLDIER
He is looking at some one.
FIRST SOLDIER
At whom is he looking ?
SECOND SOLDIER
J cannot tell.
4 SALOME
THE YOUNG SYRIAN
How pale the Princess is ! Never have I seen
her so pale. She is like the shadow of a white
rose in a mirror of silver.
THE PAGE OF HERODIAS
You must not look at her. You look too much
at her.
FIRST SOLDIER
Herodias has filled the cup of the Tetrarch.
THE CAPPADOCIAN
Is that the Queen Herodias, she who wears
a black mitre sewn with pearls, and whose hair
is powdered with blue dust ?
FIRST SOLDIER
Yes ; that is Herodias, the Tetrarch's wife.
SECOND SOLDIER
The Tetrarch is very fond of wine. He has
wine of three sorts. One which is brought from
the Island of Samothrace, and is purple like the
cloak of Csesar.
SALOME 5
THE CAPPADOCIAN
I have never seen Caesar.
SECOND SOLDIER
Another that comes from a town called Cyprus,
and is yellow like gold.
THE CAPPADOCIAN
I love gold.
SECOND SOLDIER
And the third is a wine of Sicily. That wine
is red like blood.
THE NUBIAN
The gods of my country are very fond of
blood. Twice in the year we sacrifice to them
young men and maidens; fifty young men and
a hundred maidens. But it seems we never give
them quite enough, for they are very harsh
to us.
THE CAPPADOCI\N
In my country there are no gods left. The
Romans have driven them out. There are some
who say that they have hidden themselves in the
8 SALOME
mountains, but I do not believe it. Three nights
I have been on the mountains seeking them every-
where. I did not find them. And at last I called
them by their names, and they did not come. I
think they are dead.
FIRST SOLDIER
The Jews worship a God that you cannot see.
THE CAPPADOCIAN
I cannot understand that.
FIRST SOLDIER
In fact, they believe only in things that you
cannot see.
THE CAPPADOCIAN
That seems to me altogether ridiculous.
THE VOICE OF JOKANAAN
After me shall come another mightier than I.
I am not worthy so much as to unloose the latchet
of his shoes. When he cometh, the solitary
places shall be glad. They shall blossom like
the lily. The eyes of the blind shall see the day,
SALOME 7
and the ears of the deaf shall be opened. The
new-born child shall put his hand upon the
dragons' lair and shall lead the lions by their
manes.
SECOND SOLDIER
Make him be silent, He is always saying
ridiculous things.
FIRST SOLDIER
No, no. He is a holy man. He is very gentle,
too. Every day when I give him to eat he
thanks me.
THE CAPPADOCIAN
Who is he?
FIRST SOLDIER
A prophet.
THE CAPPADOCIAN
What is his name ?
FIRST SOLDIER
Jokanaan.
8 SALOME
THE CAPPADOCIAN
Whence comes he ?
FIRST SOLDIER
From the desert, where he fed on locusts and
wild honey. He was clothed in camel's hair,
and round his loins he had a leathern belt. He
was very terrible to look upon. A great multi-
tude used to follow him. He even had disciples.
THE CAPPADOCIAN
What is he talking of?
FIRST SOLDIER
We can never tell. Sometimes he says ter-
rible things, but it is impossible to understand
what he says.
THE CAPPADOCIAN
May one see him ?
FIRST SOLDIER
No. The Tetrarch has forbidden it.
THE YOUNG SYRIAN
The Princess has hidden her face behind her
fan ! Her little white hands are fluttering like
SALOM^ 9
doves that fly to their dove-cots. They are like
white butterflies. They are just like white
butterflies.
THE PAGE OF HERODIAS
What is that to you? Why do you look at
her ? You must not look at her. . . . Something
terrible may happen.
THE CAPPADOCIAN [pointing to the cistern]
What a strange prison !
SECOND SOLDIER
It is an old cistern.
THE CAPPADOCIAN
An old cistern ! It must be very unhealthy.
SECOND SOLDIER
Oh no ! For instance, the Tetrarch's brother,
his elder brother, the first husband of Herodias
the Queen, was imprisoned there for twelve years.
It did not kill him. At the end of the twelve
years he had to be strangled.
THE CAPPADOCIAN
Strangled ? W T ho dared to do that ?
10 SALOME
SECOND SOLDIER
[Pointing to the executioner, a huge negro]
That man yonder, Naaman,
THE CAPPADOCIAN
He was not afraid ?
SECOND SOLDIER
Oh no ! The Tetrarch sent him the ring.
THE CAPPADOCIAN
What ring ?
SECOND SOLDIER
The death-ring. So he was not afraid.
THE CAPPADOCIAN
Yet it is a terrible thing to strangle a king.
FIRST SOLDIER
Why? Kings have but one neck, like other
folk.
THE CAPPADOCIAN
I think it terrible.
THE I1LACK CAl'E
SALOME 11
THE YOUNG SYRIAN
The Princess rises ! She is leaving the table !
She looks very troubled. Ah, she is coming this
way. Yes, she is coming towards us. How pale
she is ! Never have I seen her so pale.
THE PAGE OF HERODIAS
Do not look at her. I pray you not to look
at her.
THE YOUNG SYRIAN
She is like a dove that has strayed. . . . She
is like a narcissus trembling in the wind. . . .
She is like a silver flower.
[Enter Salome.]
SALOME
I will not stay. I cannot stay. Why does
the Tetrarch look at me all the while with his
mole's eyes under his shaking eyelids ? It is
strange that the husband of my mother looks at
me like that. I know not what it means. ... In
truth, yes I know it.
THE YOUNG SYRIAN
You have just left the feast, Princess?
12 SALOME
SALOME
How sweet the air is here! I can breathe
here ! Within there are Jews from Jerusalem
who are tearing each other in pieces over their
foolish ceremonies, and barbarians who drink
and drink, and spill their wine on the pavement,
and Greeks from Smyrna with painted eyes and
painted cheeks, and frizzed hair curled in twisted
coils, and silent, subtle Egyptians, with long nails
of jade and russet cloaks, and Romans brutal
and coarse, with their uncouth jargon. Ah !
how I loathe the Romans ! They are rough and
common, and they give themselves the airs of
noble lords.
THE YOUNG SYRIAN
Will you be seated, Princess ?
THE PAGE OF HERODIAS
Why do you speak to her ? Why do you look
at her? Oh ! something terrible will happen.
SALOME
How good to see the moon ! She is like a
little piece of money. You would think she was
SALOME 13
a little silver flower. The moon is cold and
chaste. I am sure she is a virgin, she has a
virgin's beauty. Yes, she is a virgin. She has
never defiled herself. She has never abandoned
herself to men, like the other goddesses.
THE VOICE OF JOKANAAN
The Lord hath come. The Son of Man hath
come. The centaurs have hidden themselves in
the rivers, and the sirens have left the rivers,
and are lying beneath the leaves in the forests.
SALOME
Who was that who cried out ?
SECOND SOLDIER
The prophet, Princess.
SALOME
Ah, the prophet ! He of whom the Tetrarch
is afraid ?
SECOND SOLDIER
We know nothing of that, Princess. It was
the prophet Jokanaan who cried out.
14 SALOME
THE YOUNG SYRIAN
Is it your pleasure that I bid them bring your
litter, Princess ? The night is fair in the garden.
SALOME
He says terrible things about my mother, does
he not?
SECOND SOLDIER
We never understand what he says, Princess.
SALOME
Yes ; he says terrible things about her.
[Enter a Slave.]
THE SLAVE
Princess, the Tetrarch prays you to return to
the feast.
SALOM
I will not go back.
THE YOUNG SYRIAN
Pardon me, Princess, but if you do not return
some misfortune may happen.
SALOME
Js he an old man, this prophet ?
SALOME 15
THE YOUNG SYRIAN
Princess, it were better to return. Suffer me
to lead you in.
SALOME
This prophet ... is he an old man ?
FIRST SOLDIER
No, Princess, he is quite a young man.
SECOND SOLDIER
You cannot be sure. There are those who say
he is Elias.
SALOME
Who is Elias r
SECOND SOLDIER
A very ancient prophet of this country,
Princess.
THE SLAVE
What answer may I give the Tetrarch from the
Princess ?
THE VOICE OF JOKANAAN
Rejoice not thou, land of Palestine, because
the rod of him who smote thee is broken. For
16 SALOM^
from the seed of the serpent shall come forth a
basilisk, and that which is born of it shall devour
the birds.
SALOME
What a strange voice I would speak with
him.
FIRST SOLDIER
I fear it is impossible, Princess. The Tetrarch
does not wish any one to speak with him. He
has even forbidden the high priest to speak with
him.
SALOME
I desire to speak with him.
FIRST SOLDIER
It is impossible, Princess.
SALOME
1 will speak with him.
THE YOUNG SYRIAN
Would it not be better to return to the ban-
quet ?
SALOM^ 17
SALOME
Bring forth this prophet.
[Exit the slave.]
FIRST SOLDIER
We dare not, Princess.
SALOME [approaching the cistern and looking down
into it]
How black it is, down there ! It must be
terrible to be in so black a pit ! It is like a tomb.
. . . [To the soldiers] Did you not hear me?
Bring out the prophet. I wish to see him.
SECOND SOLDIER
Princess, I beg you do not require this of us.
SALOME
You keep me waiting !
FIRST SOLDIER
Princess, our lives belong to you, but we cannot
do what you have asked of us. And indeed, it is
not of us that you should ask this thing.
[looking at the young Syrian]
Ah! .
18 SALOME
THE PAGE OF HERODIAS
Oh ! what is going to happen ? I am sure
that some misfortune will happen.
SALOME [going up to the young Syrian]
You will do this thing for me, will you not,
Narraboth? You will do this thing for me. I
have always been kind to you. You will do it for
me. I would but look at this strange prophet.
Men have talked so much of him. Often have
I heard the Tetrarch talk of him. I think the
Tetrarch is afraid of him. Are you, even you,
also afraid of him, Narraboth ?
THE YOUNG SYRIAN
I fear him not, Princess ; there is no man I fear.
But the Tetrarch has formally forbidden that
any man should raise the cover of this well.
SALOME
You will do this thing for me, Narraboth, and
to-morrow when I pass in my litter beneath the
gateway of the idol-sellers 1 will let fall for you a
little flower, a little green flower.
SALOME 19
THE YOUNG SYRIAN
Princess, I cannot, I cannot.
SALOME [smiling]
You will do this thing for me, Narraboth. You
know that you will do this thing for me. And
to-morrow when I pass in my litter by the bridge
of the idol-buyers, I will look at you through the
muslin veils, I will look at you, Narraboth, it may
be I will smile at you. Look at me, Narraboth,
look at me. Ah ! you know that you will do
what I ask of you. You know it well. ... I
know that you will do this thing.
THE YOUNG SYRIAN [signing to the third soldier]
Let the prophet come forth. . . , The Princess
Salome desires to see him.
SALOME
Ah!
THE PAGE OF HERODIAS
Oh ! How strange the moon looks. You would
think it was the hand of a dead woman who is
seeking to cover herself with a shroud.
20 SALOM6
THE YOUNG SYRIAN
The moon has a strange look ! She is like a little
princess, whose eyes are eyes of amber. Through
the clouds of muslin she is smiling like a little
princess.
[The prophet comes out of the cistern. Salome
looks at him and steps slowly back.]
JOKANAAN
Where is he whose cup of abominations is now
full ? Where is he, who in a robe of silver shall
one day die in the face of all the people ? Bid
him come forth, that he may hear the voice of
him who hath cried in the waste places and in the
houses of kings.
SALOME
Of whom is he speaking ?
THE YOUNG SYRIAN
You can never tell, Princess.
JOKANAAN
Where is she who having seen the images of
men painted on the walls, the images of the
Chaldeans limned in colours, gave herself up unto
A PLATONIC LAMENT
SALOME 21
the lust of her eyes, and sent ambassadors into
Chaldea ?
SALOME
It is of my mother that he speaks.
THE YOUNG SYRIAN
Oh no, Princess.
SALOME
Yes ; it is of my mother that he speaks.
JOKANAAN
Where is she who gave herself unto the Cap-
tains of Assyria, who have baldricks on their
loins, and tiaras of divers colours on their heads ?
Where is she who hath given herself to the
young men of Egypt, who are clothed in fine
linen and purple, whose shields are of gold,
whose helmets are of silver, whose bodies are
mighty ? Bid her rise up from the bed of her
abominations, from the bed of her incestuous-
ness, that she may hear the words of him who
prepareth the way of the Lord, that she may
repent her of her iniquities. Though she will never
22 SALOME
repent, but will stick fast in her abominations,
bid her come ; for the fan of the Lord is in His
hand.
SALOME
But he is terrible, he is terrible !
THE YOUNG SYRIAN
Do not stay here, Princess, I beseech you.
SALOME
It is his eyes above all that are terrible. They
are like black holes burned by torches in a Tyrian
tapestry. They are like black caverns where
dragons dwell. They are like the black caverns
of Egypt in which the dragons make their lairs.
They are like black lakes troubled by fantastic
moons. . . . Do you think he will speak again ?
THE YOUNG SYRIAN
Do not stay here, Princess. I pray you do not
stay here.
SALOMK
How wasted he is ! He is like a thin ivory
statue. He is like an image of silver. I am sure
SALOME 23
he is chaste as the moon is. He is like a moon-
beam, like a shaft of silver. His flesh must be
cool like ivory. I would look closer at him.
THE YOUNG SYRIAN
No, no, Princess.
SALOME
1 must look at him closer.
THE YOUNG SYRIAN
Princess ! Princess !
JOKANAAN
Who is this woman who is looking at me ? I
will not have her look at me. Wherefore doth
she look at me with her golden eyes under her
gilded eyelids? I know not who she is. I do
not wish to know who she is. Bid her begone.
It is not to her that I would speak.
SALOME
I am Salome, daughter of Herodias, Princess
of Judaea.
JOKANAAN
Back ! daughter of Babylon ! Come not near
the chosen of the Lord. Thy mother hath filled
24 SALOME
the earth with the wine of her iniquities, and the
cry of her sins hath come up to the ears of God.
SALOME
Speak again, Jokanaan. Thy voice is wine to
me.
THE YOUNG SYRIAN
Princess ! Princess ! Princess !
SALOME
Speak again ! Speak again, Jokanaan, and tell
me what I must do.
JOKANAAN
Daughter of Sodom, come not near me ! But
cover thy face with a veil, and scatter ashes upon
thine head, and get thee to the desert and seek
out the Son of Man.
SALOME
Who is he, the Son of Man ? Is he as beauti-
ful as thou art, Jokanaan ?
JOKANAAN
Get thee behind me ! I hear in the palace the
beating of the wings of the angel of death.
J.OHN AND SALOME
SALOME 25
THE YOUNG SYRIAN
Princess, I beseech thee to go within.
JOKANAAN
Angel of the Lord God, what dost thou here
with thy sword ? Whom seekest thou in this foul
palace ? The day of him who shall die in a robe
of silver has not yet come.
SALOME
Jokanaan !
JOKANAAN
Who speaketh ?
SALOME
Jokanaan, I am amorous of thy body ! Thy
body is white like the lilies of a field that the
mower hath never mowed. Thy body is white
like the snows that lie on the mountains, like the
snows that lie on the mountains of Judaea, and
come down into the valleys. The roses in the
garden of the Queen of Arabia are not so white
as thy body. Neither the roses in the garden
of the Queen of Arabia, nor the feet of the
dawn when they light on the leaves, nor the
26 SALOME
breast of the moon when she lies on the breast
of the sea. . . . There is nothing in the world so
white as thy body. Let me touch thy body.
JOKANAAN
Back ! daughter of Babylon ! By woman came
evil into the world. Speak not to me. I will not
listen to thee. I listen but to the voice of the
Lord God.
SALOME
Thy body is hideous. It is like the body of a
leper. It is like a plastered wall where vipers
have crawled; like a plastered wall where the
scorpions have made their nest. It is like a
whitened sepulchre full of loathsome things. It
is horrible, thy body is horrible. It is of thy
hair that I am enamoured, Jokanaan. Thy hair
is like clusters of grapes, like the clusters of
black grapes that hang from the vine-trees of
Edom in the land of the Edomites. Thy hair is
like the cedars of Lebanon, like the great cedars
of Lebanon that give their shade to the lions and
to the robbers who would hide themselves by day.
The long black nights, the nights when the moon
SALOME 27
hides her face, when the stars are afraid, are
not so black. The silence that dwells in the
forest is not so black. There is nothing in the
world so black as thy hair. . . . Let me touch
thy hair.
JOKANAAN
Back, daughter of Sodom ! Touch me not.
Profane not the temple of the Lord God.
SALOME
Thy hair is horrible. It is covered with mire
and dust. It is like a crown of thorns which they
have placed on thy forehead. It is like a knot
of black serpents writhing round thy neck. I
love not thy hair. ... It is thy mouth that I
desire, Jokanaan. Thy mouth is like a thread of
scarlet on a tower of ivory. It is like a pome-
granate cut with a knife of ivory. The pome-
granate-flowers that blossom in the gardens of
Tyre, and are redder than roses, are not so red.
The red blasts of trumpets that herald the ap-
proach of kings, and make afraid the enemy, are
not so red. Thy mouth is redder than the feet
of those who tread the wine in the wine-press.
28 SALOME
Thy mouth is redder than the feet of the doves
that haunt the temples and are fed by the priests.
It is redder than the feet of him who cometh
from a forest where he hath slain a lion and seen
gilded tigers. Thy mouth is like a branch of
coral that the fishers have found in the twilight of
the sea, the coral that they keep for kings ! . . .
It is like the vermilion that the Moabites find in
the mines of Moab, the vermilion that the kings
take from them. It is like the bow of the King
of the Persians, that is painted with vermilion
and is tipped with coral. There is nothing in the
world so red as thy mouth. . . . Let me kiss thy
mouth.
JOKANAAN
Never ! daughter of Babylon ! Daughter of
Sodom ! Never.
SALOM
I will kiss thy mouth, Jokanaan. I will kiss
thy mouth.
THE YOUNG SYRIAN
Princess, Princess, thou who art like a garden
of myrrh, thou who art the dove of all doves,
SALOME 29
look not at this man, look not at him ! Speak
not such words to him. I cannot suffer them.
. . . Princess, Princess, speak not these things.
SALOME
I will kiss thy mouth, Jokanaan.
THE YOUNG SYRIAN
Ah!
[He kills himself and falls between Salome and
Jokanaa?i.]
THE PAGE OF HERODIAS
The young Syrian has slain himself! The
young captain has slain himself! He has slain
himself who was my friend ! I gave him a little
box of perfumes and ear-rings wrought in silver,
and now he has killed himself! Ah, did he not
foretell that some misfortune would happen ? I,
too, foretold it, and it has happened. Well I
knew that the moon was seeking a dead thing
but I knew not that it was he whom she sought.
Ah ! why did I not hide him from the moon ?
If I had hidden him in a cavern she would not
have seen him.
30 SALOME
FIRST SOLDIER
Princess, the young captain has just killed
himself.
SALOME
Let me kiss thy mouth, Jokanaan.
JOKANAAN
Art thou not afraid, daughter of Herodias ?
Did I not tell thee that I had heard in the palace
the beating of the wings of the angel of death,
and hath he not come, the angel of death ?
SALOME
Let me kiss thy mouth.
JOKANAAN
Daughter of adultery, there is but one who
can save thee. It is He of whom I spake. Go
seek Him. He is in a boat on the sea of Galilee,
and He talketh with His disciples. Kneel down
on the shore of the sea, and call unto Him by
His name. When He cometh to thee (and to all
who call on Him He cometh), bow thyself at His
feet and ask of Him the remission of thy sins,
ENTER HEKODIAS
SALOME 31
SALOME
Let me kiss thy mouth.
JOKANAAN
Cursed be thou ! daughter of an incestuous
mother, be thou accursed !
SALOME
I will kiss thy mouth, Jokanaan.
JOKANAAN
I do not wish to look at thee. I will not look
at thee, thou art accursed, Salome, thou art
accursed.
[He goes down into the cistern.]
SALOME
I will kiss thy mouth, Jokanaan ; I will kiss
thy mouth.
FIRST SOLDIER
We must bear away the body to another place.
The Tetrarch does not care to see dead bodies,
save the bodies of those whom he himself has
slain.
32 SALOME
THE PAGE OF HERODIAS
He was my brother, and nearer to me than a
brother. I gave him a little box full of perfumes,
and a ring of agate that he wore always on his
hand. In the evening we used to walk by the
river, among the almond trees, and he would tell
me of the things of his country. He spake ever
very low. The sound of his voice was like the
sound of the flute of a flute player. Also he
much loved to gaze at himself in the river. I
used to reproach him for that.
SECOND SOLDIER
You are right ; we must hide the body. The
Tetrarch must not see it.
FIRST SOLDIER
The Tetrarch will not come to this place. He
never comes on the terrace. He is too much
afraid of the prophet.
[Enter Herod, Herodias, and all the Court.]
HEROD
Where is Salome? Where is the Princess?
Why did she not return to the banquet as I
commanded her ? Ah ! there she is !
SALOME 33
HERODIAS
You must not look at her ! You are always
looking at her !
HEROD
The moon has a strange look to-night. Has
she not a strange look ? She is like a mad woman,
a mad woman who is seeking everywhere for
lovers. She is naked too. She is quite naked.
The clouds are seeking to clothe her nakedness,
but she will not let them. She reels through the
clouds like a drunken woman. ... I am sure she
is looking for lovers. . . . Does she not reel like a
drunken woman ? She is like a mad woman, is
she not ?
HERODIAS
No. The moon is like the moon, that is all.
Let us go within. . . . You have nothing to do
here.
HEROD
I will stay here ! Manasseh, lay carpets there.
Light torches. Bring forth the ivory tables, and
the tables of jasper. The air here is delicious. I
34 SALOM&
will drink more wine with my guests, We must
show all honours to the ambassadors of Caesar.
HKRODIAS
It is not because of them that you remain.
HEROD
Yes ; the air is delicious. Come, Herodias, our
guests await us. Ah ! I have slipped ! I have
slipped in blood ! It is an ill omen. It is a very
evil omen. Wherefore is there blood here ? . . .
And this body, what does this body here ? Think
you I am like the King of Egypt who gives
no feast to his guests but that he shows
them a corpse? Whose is it? I will not look
on it.
FIRST SOLDIER
It is our captain, sire. It is the young Syrian
whom you made captain only three days ago.
HEROD
I gave no order that he should be slain.
SECOND SOLDIER
He killed himself, sire.
SALOME 35
HEROD
For what reason ? I had made him captain !
SECOND SOLDIER
We do not know, sire. But he killed himself.
HEROD
That seems strange to me. I thought it was
only the Roman philosophers who killed them-
selves. Is it not true, Tigellinus, that the philoso-
phers at Rome kill themselves ?
TIGELLINUS
There are some who kill themselves, sire.
They are the Stoics. The Stoics are coarse
people. They are ridiculous people. I myself
regard them as being perfectly ridiculous.
HEROD
I also. It is ridiculous to kill oneself.
TIGELLINUS
Everybody at Rome laughs at them. The
Emperor has written a satire against them. It is
recited everywhere,
36 SALOM
HEROD
Ah ! He has written a satire against them ?
Caesar is wonderful. He can do everything. . . .
It is strange that the young Syrian has killed
himself. I am sorry he has killed himself. I am
very sorry ; for he was fair to look upon. He
was even very fair. He had very languorous
eyes. I remember that I saw that he looked
languorously at Salome. Truly, I thought he
looked too much at her.
HERODIAS
There are others who look at her too much.
HEROD
His father was a king. I drove him from his
kingdom. And you made a slave of his mother,
who was a queen, Herodias. So he was here as
my guest, as it were, and for that reason I made
him my captain. I am sorry he is dead. Ho !
why have you left the body here? Take it away!
I will not look at it away with it! [They take
a/ray the bodt/.] It is cold here. There is a wind
blowing. Is there not a wind blowing ?
SALOME 37
HERODIAS
No ; there is no wind.
HEROD
I tell you there is a wind that blows. . . .
And I hear in the air something that is like the
beating of wings, like the beating of vast wings.
Do you not hear it ?
HERODIAS
I hear nothing.
HEROD
I hear it no longer. But I heard it. It was
the blowing of the wind, no doubt. It has passed
away. But no, I hear it again. Do you not hear
it ? It is just like the beating of wings.
HERODIAS
I tell you there is nothing. You are ill. Let
us go within.
HEROD
I am not ill. It is your daughter who is sick.
She has the mien of a sick person. Never have
I seen her so pale.
38 SALOME
HERODIAS
I have told you not to look at her.
HEROD
Pour me forth wine [wine is brought]. Salome,
come drink a little wine with me. I have here a
wine that is exquisite. Caesar himself sent it me,
Dip into it thy little red lips and then I will
drain the cup.
SALOME
I am not thirsty, Tetrarch,
HEROD
You hear how she answers me, this daughter
of yours ?
HERODIAS
She does right. Why are you always gazing
at her ?
HEROD
Bring me ripe fruits [fruits are brought],
Salome, come and eat fruit with me. I love to
see in a fruit the mark of thy little teeth. Bite
but a little of this fruit and then I will eat what
is left.
THE EVES OK HEROU
SALOME 39
SALOME
I am not hungry, Tetrarch.
HEROD [to Herodias]
You see how you have brought up this daughter
of yours.
HERODIAS
My daughter and I come of a royal race. As
for you, your father was a camel driver ! He was
also a robber !
HEROD
Thou liest !
HERODIAS
Thou knowest well that it is true.
HEROD
Salome, come and sit next to me. I will give
thee the throne of thy mother.
SALOME:
I am not tired, Tetrarch.
HERODIAS
You see what she thinks of you.
40 SALOME
HEROD
Bring me what is it that I desire ? I forget.
Ah ! ah ! I remember.
THE VOICE OF JOKANAAN
Lo ! the time is come ! That which I foretold
hath come to pass, saith the Lord God. Lo ! the
day of which I spake.
HERODIAS
Bid him be silent. I will not listen to his
voice. This man is for ever vomiting insults
against me.
HEROD
He has said nothing against you. Besides, he
is a very great prophet.
HERODIAS
I do not believe in prophets. Can a man tell
what will come to pass ? No man knows it. More-
over, he is for ever insulling me. But I think you
are afraid of him. ... I know well that you are
afraid of him.
HEROD
I am not afraid of him. I am afraid of no man.
SALOME 41
HERODIAS
I tell you, you are afraid of him. If you are
not afraid of him why do you not deliver him to
the Jews, who for these six months past have been
clamouring for him ?
A JEW
Truly, my lord, it were better to deliver him
into our hands.
HEROD
Enough on this subject. I have already given
you my answer. I will not deliver him into your
hands. He is a man who has seen God.
A JEW
That cannot be. There is no man who hath
seen God since the prophet Elias. He is the last
man who saw God. In these days God doth not
show Himself. He hideth Himself. Therefore
great evils have come upon the land.
ANOTHER JEW
Verily, no man knoweth if the prophet Elias
did indeed see God. Perad venture it was but the
shadow of God that he saw.
42 SALOME
A THIRD JEW.
God is at no time hidden. He showeth Him-
self at all times and in everything. God is in
what is evil even as He is in what is good.
A FOURTH JEW
That must not be said. It is a very dangerous
doctrine. It is a doctrine that cometh from the
schools at Alexandria where men teach the philo-
sophy of the Greeks. And the Greeks are Gen-
tiles : they are not even circumcised.
A FIFTH JEW
No one can tell how God worketh. His ways
are very mysterious. It may be that the things
which we call evil are good, and that the things
which we call good are evil. There is no know-
ledge of anything. We must needs submit to
everything, for God is very strong. He breaketh
in pieces the strong together with the weak, for
He regardeth not any man.
FIRST JEW
Thou speakest truly. God is terrible ; He
breaketh the strong and the weak as a man brays
SALOME 43
corn in a mortar. But this man hath never seen
God. No man hath seen God since the prophet
Elias.
HERODIAS
Make them be silent. They weary me.
HEROD
But I have heard it said that Jokanaan himself
is your prophet Elias.
THE JEW
That cannot be. It is more than three hundred
years since the days of the prophet Elias.
HEROD
There are some who say that this man is the
prophet Elias.
A NAZARENE
I am sure that he is the prophet Elias.
THE JEW
Nay, but he is not the prophet Elias.
44 SALOME
THE VOICE OF JOKANAAN
So the day is come, the day of the Lord, and I
hear upon the mountains the feet of Him who
shall be the Saviour of the world.
HEROD
What does that mean? The Saviour of the
world ?
TIGELLINUS
It is a title that Caesar takes.
HEROD
But Caesar is not coming into Judaea. Only
yesterday I received letters from Rome. They
contained nothing concerning this matter. And
you, Tigellinus, who were at Rome during the
winter, you heard nothing concerning this matter,
did you ?
TIGELLINUS
Sire, I heard nothing concerning the matter.
I was explaining the title. It is one of Caesar's
titles.
SALOME 45
HEROD
But Ctesar cannot come. He is too gouty.
They say that his feet are like the feet of an
elephant. Also there are reasons of State. He
who leaves Rome loses Rome. He will not
come. Howbeit, Caesar is lord. He will come if
he wishes. Nevertheless, I do not think he will
come.
FIRST NAZARENE
It was not concerning Caesar that the prophet
spake, sire.
HEROD
Not of Caesar ?
FIRST NAZARENE
No, sire.
HEROD
Concerning whom, then, did he speak ?
FIRST NAZARENE
Concerning Messias who hath come.
A JEW
Messias hath not come,
46 SALOME
FIRST NAZARENE
He hath come, and everywhere He worketh
miracles.
HERODIAS
Ho ! ho ! miracles ! I do not believe in
miracles. I have seen too many. [To ike page]
My fan !
FIRST NAZARENE
This man worketh true miracles. Thus, at a
marriage which took place in a little town of
Galilee, a town of some importance, He changed
water into wine. Certain persons who were
present related it to me. Also He healed two
lepers, that were seated before the Gate of
Capernaum, simply by touching them.
SECOND NAZARENE
Nay, it was two blind men that he healed at
Capernaum.
FIRST NAZARENE
Nay ; they were lepers. But He hath healed
blind people also, and He was seen on a mountain
talking with angels.
SALOME 47
A SADDUCEE
Angels do not exist.
A PHARISEE
Angels do exist, but I do not believe that this
Man has talked with them.
FIRST NAZARENE
He was seen by a great multitude of people
talking with angels.
A SADDUCEE
Not with angels.
HERODIAS
How these men weary me ! They are ridicu-
lous ! [To the page] Well! my fan! [The
page gives her the fan.] You have a dreamer's
look ; you must not dream. It is only sick people
who dream. [She strikes the page with her fan]
SECOND NAZARENE
There is also the miracle of the daughter of
Jairus.
FIRST NAZARENE
Yes ; that is sure. No man can gainsay it.
48 SALOME
HERODIAS
These men are mad. They have looked too
long on the moon. Command them to be silent.
HEROD
What is this miracle of the daughter of Jairus?
FIRST NAZARENE
The daughter of Jairus was dead. He raised
her from the dead.
HEROD
He raises the dead ?
FIRST NAZARENE
Yea, sire, He raiseth the dead.
HEROD
I do not wish Him to do that. I forbid Him
to do that. I allow no man to raise the dead.
This Man must be found and told that I forbid
Him to raise the dead. Where is this Man at
present ?
SECOND NAZARENE
He is in every place, sire, but it is hard to
find Him,
THE STOMACH DANCE
SALOME 49
FIRST NAZARENE
It is said that He is now in Samaria.
A JEW
It is easy to see that this is not Messias, if He
is in Samaria. It is not to the Samaritans that
Messias shall come. The Samaritans are accursed.
They bring no offerings to the Temple.
SECOND NAZARENE
He left Samaria a few days since. I think
that at the present moment He is in the neigh-
bourhood of Jerusalem.
FIRST NAZARENE
No ; He is not there. I have just come from
Jerusalem. For two months they have had no
tidings of Him.
HEROD
No matter ! But let them find Him, and tell
Him from me I will not allow Him to raise the
dead. To change water into wine, to heal the
lepers and the blind . . . He may do these things
if He will. I say nothing against these things.
60
In truth, I hold it a good deed to heal a leper.
But I allow no man to raise the dead. It would
be terrible if the dead came back.
THE VOICE OF JOKANAAN
Ah! the wanton! the harlot! Ah! the
daughter of Babylon with her golden eyes and
her gilded eyelids ! Thus saith the Lord God.
Let there come up against her a multitude of
men. Let the people take stones and stone
her. . . .
HERODIAS
Command him to be silent
THE VOICE OF JOKANAAN
Let the war captains pierce her with their
swords, let them crush her beneath their shields.
HERODIAS
Nay, but it is infamous.
THE VOICE OF JOKANAAN
It is thus that I will wipe out all wickedness
from the earth, and that all women shall learn
not to imitate her abominations.
SALOME 51
HERODIAS
You hear what he says against me ? You allow
him to revile your wife ?
HEROD
He did not speak your name.
HERODIAS
What does that matter ? You know well that
it is me he seeks to revile. And I am your
wife, am I not ?
HEROD
Of a truth, dear and noble Herodias, you are
my wife, and before that you were the wife of my
brother.
HERODIAS
It was you who tore me from his arms.
HEROD
Of a truth I was the stronger. . . . But let us
not talk of that matter. I do not desire to talk
of it. It is the cause of the terrible words that
the prophet has spoken. Perad venture on account
of it a misfortune will come. Let us not speak
52 SALOM&
of this matter. Noble Herodias, we are not
mindful of our guests. Fill thou my cup, my
well-beloved. Fill with wine the great goblets
of silver, and the great goblets of glass. I will
drink to Caesar. There are Romans here. We
must drink to Caesar.
ALL
Caesar ! Caesar !
HEROD
Do you not see how pale your daughter is ?
HERODIAS
What is it to you if she be pale or not ?
HEROD
Never have I seen her so pale.
HERODIAS
You must not look at her.
THE VOICE OF JOKANAAN
In that day the sun shall become black like
sackcloth of hair, and the moon shall become like
blood, and the stars of the heaven shall fall
SALOME 53
upon the earth like ripe figs that fall from the
fig-tree, and the kings of the earth shall be
afraid.
HERODIAS
Ah! Ah! I should like to see that day of
which he speaks, when the moon shall become
like blood, and when the stars shall fall upon the
earth like ripe figs. This prophet talks like a
drunken man . . . But I cannot suffer the sound
of his voice, I hate his voice. Command him to
be silent.
HEROD
I will not. I cannot understand what it is that
he saith, but it may be an omen.
HERODIAS
I do not believe in omens. He speaks like a
drunken man.
HEROD
It may be he is drunk with the wine of God !
HERODIAS
What wine is that, the wine of God ? From
54 SALOME
what vineyards is it gathered ? In what wine-
press may one find it ?
HEROD [from this point he looks all the while at
Salome]
Tigellinus, when you were at Rome of late,
did the Emperor speak with you on the subject
of . . . ?
TIOELLINUS
On what subject, sire ?
HEROD
On what subject ? Ah ! I asked you a ques-
tion, did I not ? I have forgotten what I would
have asked you.
HERODIAS
You are looking again at my daughter. You
must not look at her. I have already said so.
HEROD
You say nothing else.
HERODIAS
I say it again.
SALOME 56
HEROD
And the restorati6n of the Temple about which
they have talked so much, will anything be done ?
They say the veil of the sanctuary has disap-
peared, do they not?
HERODIAS
It was thyself didst steal it. Thou speakest at
random. I will not stay here. Let us go within.
HEROD
Dance for me, Salome.
HERODIAS
I will not have her dance.
SALOME
I have no desire to dance, Tetrarch.
HEROD
Salome, daughter of Herodias, dance for me.
HERODIAS
Let her alone.
HEROD
I command thee to dance, Salome".
56 SALOME
SALOME
I will not dance, Tetrarch.
HERODIAS [laughing].
You see how she obeys you !
HEROD
What is it to me whether she dance or not?
It is naught to me. To night I am happy. I
am exceeding happy, Never have I been so
happy.
FIRST SOLDIER
The Tetrarch has a sombre look. Has he not
a sombre look ?
SECOND SOLDIER
He has a sombre look.
HEROD
Wherefore should I not be happy ? Caesar,
who is lord of the world, who is lord of all things,
loves me well. He has just sent me most precious
gifts. Also he has promised me to summon to
Rome the King of Cappadocia, who is my enemy.
It may be that at Rome he will crucify him, for
THE DANCER S REWARI
SALOME 57
he is able to do all things that he wishes. Verily,
Caesar is lord. Thus you see I have a right to be
happy. There is nothing in the world that can
mar my happiness.
THE VOICE OF JOKANAAN
He shall be seated on this throne. He shall be
clothed in purple and scarlet. In his hand he
shall bear a golden cup full of his blasphemies.
And the angel of the Lord God shall smite him.
He shall be eaten of worms.
HERODIAS
You hear what he says about you. He says
that you will be eaten of worms.
HEROD
It is not of me that he speaks. He speaks
never against me. It is of the King of Cappa-
docia that he speaks,, of the King of Cappadocia
who is mine enemy. It is he who shall be eaten
of worms. It is not I. Never has he spoken
word against me, this prophet, save that I sinned
in taking to wife the wife of my brother. It may
be he is right. For, of a truth, you are sterile.
58 SALOME
HERODIAS
I am sterile, I ? You say that, you who are
ever looking at my daughter, you who would
have her dance for your pleasure ? It is absurd
to say that. I have borne a child. You have
gotten no child, no, not even from one of your
slaves. It is you who are sterile, not I.
HEROD
Peace, woman ! I say that you are sterile.
You have borne me no child, and the prophet
says that our marriage is not a true marriage.
He says that it is an incestuous marriage, a
marriage that will bring evils. ... I fear he is
right. I am sure that he is right. But it is not
the moment to speak of such things. I would be
happy at this moment. Of a truth, I am happy.
I am very happy. There is nothing I lack.
HERODIAS
I am glad you are of so fair a humour to-night.
It is not your custom. But it is late. Let us go
within. Do not forget that we hunt at sunrise.
All honours must be shown to Cesar's ambassa-
dors, must they not?
THE TOILETTK OF SALOME I
SALOME 59
SECOND SOLDIER
What a sombre look the Tetrarch wears.
FIRST SOLDIER
Yes, he wears a sombre look.
HEROD
Salome, Salome, dance for me. I pray you
dance for me. I am sad to-night. Yes. I am
passing sad to-night. When I came hither I
slipped in blood, which is an evil omen ; and I
heard, I am sure I heard in the air a beating
of wings, a beating of giant wings. I cannot
tell what it means. ... I am sad to-night.
Therefore dance for me. Dance for me, Salome,
I beseech you. If you dance for me you may
ask of me what you will, and I will give it you.
Yes, dance for me, Salome, and I will give you
all that you ask of me,, even unto the half of my
kingdom.
SALOME [rising]
Will you indeed give me whatsoever I shall
ask, Tetrarch ?
60 SALOME
HERODIAS
Do not dance , my daughter.
HEROD
Everything, even to the half of my kingdom.
SALOME
You swear it, Tetrarch ?
HEROD
I swear it, Salome.
HERODIAS
Do not dance, my daughter.
SALOME
By what will you swear, Tetrarch ?
HEROD
By my life, by my crown, by my gods. What-
soever you desire I will give it you, even to the
half of my kingdom, if you will but dance for
me. O Salome, Salome", dance for me !
SALOME
You have sworn, Tetrarch.
THE TOILETTE OF SALOME I
SALOME 61
HEROD
I have sworn, Salome.
SALOME
All that I ask, even to the half of your kingdom ?
HERODIAS
My daughter, do not dance.
HEROD
Even to the half of my kingdom. Thou wilt
be passing fair as a queen, Salome, if it please
thee to ask for the half of my kingdom. Will
she not be fair as a queen ? Ah ! it is cold here !
There is an icy wind, and I hear . . . where-
fore do I hear in the air this beating of wings ?
Ah ! one might fancy it was a bird, a huge black
bird hovering over the terrace. Why can I not see
it, this bird ? The beating of its wings is terrible.
The breath of the wind of its wings is terrible.
It is a chill wind. Nay, but it is not cold, it
is hot. I am choking. Pour water on my hands.
Give me snow to eat. Loosen my mantle.
Quick ! quick ! loosen my mantle. Nay, but leave
it. It is my garland that hurts me, my garland
62 SALOME
of roses. The flowers are like fire. They have
burned my forehead. [He tears the wreath from
his head and throws it on the table.] Ah ! I can
breathe now. How red those petals are ! They
are like stains of blood on the cloth. That does
not matter. You must not find symbols in every-
thing you see. It makes life impossible. It
were better to say that stains of blood are as
lovely as rose petals. It were better far to say
that. . . . But we will not speak of this. Now
I am happy. I am very happy. Have I not
the right to be happy ? Your daughter is going
to dance for me. Will you not dance for me,
Salom6 ? You have promised to dance for me.
HERODIAS
I will not have her dance.
SALOMK
I will dance for you, Tetrarch.
HEROD
You hear what your daughter says. She is
going to dance for me. You do well to dance
SALOME 63
for me, Salome. And when you have danced for
me, forget not to ask of me whatsoever you wish.
Whatsoever you wish I will give it to you, even
to the half of my kingdom. I have sworn it,
have I not ?
SALOME
You have sworn it, Tetrarch.
HEROD
And I have never broken my word. I am not
of those who break their oaths. I know not how
to lie. I am the slave of my word, and my word
is the word of a king. The King of Cappadocia
always lies, but he is no true king. He is
a coward. Also he owes me money that he will
not repay. He has even insulted my ambas-
sadors. He has spoken words that were wound-
ing. But Caesar will crucify him when he comes
to Rome. I am sure that Caesar will crucify him.
And if not, yet will he die, and be eaten of
worms. The prophet has prophesied it. Well !
wherefore dost thou tarry, Salom6 ?
64 SALOME
SALOME
I am waiting for my slaves to bring me perfumes
and the seven veils and to take off my sandals.
[Slaves bring perfumes and the seven veils and take
off the sandals of Salome.]
HEROD
Ah, you are going to dance with naked feet !
Tis well! Tis well. Your little feet will be
like white doves. They will be like little white
flowers dancing on a tree. . . . No, no, she
is going to dance on blood ! There is blood
spilt on the ground. She must not dance on
blood. It were an evil omen.
HERODIAS
What is it to you if she dance on blood ? You
have waded deep enough therein. . . .
HEROD
What is it to me? Ah! look at the moon!
She has become red. She has become red as
blood. Ah ! the prophet prophesied truly. He
prophesied that the moon would become red as
SALOMri 65
blood. Did he not prophesy it? All of you
heard him. And now the moon has become red
as blood. Do you not see it?
HERODIAS
Oh yes, I see it well, and the stars are falling
like ripe figs, are they not? And the sun is
becoming black like sackcloth of hair, and the
kings of the earth are afraid. That at least one
can see. The prophet, for once in his life, was
right. The kings of the earth are afraid. . . .
Let us go within. You are sick. They will say
at Rome that you are mad. Let us go within,
I tell you.
THE VOICE OF JOKANAAN
Who is this who cometh from Edom, who is
this who cometh from Bozra, whose raiment is
dyed with purple, who shineth in the beauty of
his garments, who walketh mighty in his great-
ness? Wherefore is thy raiment stained with
scarlet ?
HERODIAS
Let us go within. The voice of that man
maddens me. I will not have my daughter dance
F
66 SALOME
while he is continually crying out. I will not have
her dance while you look at her in that fashion.
In a word, I will not have her dance.
HEROD
Do not rise,, my wife, my queen, it will avail
thee nothing. I will not go within till she hath
danced. Dance, Salom, dance for me.
HERODIAS
Do not dance, my daughter.
SALOME^
I am ready, Tetrarch.
[Salome dances the dance of the seven veils. ~\
HEROD
Ah ! wonderful ! wonderful ! You see that she
has danced for me, your daughter. Come near,
Salome, come near, that I may give thee thy
reward. Ah ! I pay the dancers well. I will pay
thee royally. I will give thee whatsoever thy
soul desireth. What wouldst thou have ? Speak.
SALOME [kneeling]
I would that they presently bring me in a silver
charger . . ,
SALOMfi 67
HEROD [laughing]
In a silver charger ? Surely yes, in a silver
charger. She is charming, is she not ? What is
it you would have in a silver charger, O sweet
and fair Salome, you who are fairer than all the
daughters of Judaea? What would you have
them bring you in a silver charger ? Tell me.
Whatsoever it may be, they shall give it you.
My treasures belong to you. What is it,
Salome ?
SALOME [mzwg]
The head of Jokanaan.
HERODIAS
Ah ! that is well said, my daughter.
HEROD
No, no !
HERODIAS
That is well said, my daughter.
HEROD
No, no, Salome. You do not ask me that.
Do not listen to your mother's voice. She is ever
giving you evil counsel. Do not heed her,
68 SALOMfi
SALOM
I do not heed my mother. It is for mine
own pleasure that I ask the head of Jokanaan
in a silver charger. You have sworn, Herod.
Forget not that you have sworn an oath.
HEROD
I know it. I have sworn by my gods. I know
it well. But I pray you, Salome, ask of me
something else. Ask of me the half of my
kingdom, and I will give it you. But ask not of
me what you have asked.
SALOME
I ask of you the head of Jokanaan.
HEROD
No, no, I do not wish it.
SALOMK
You have sworn, Herod.
HERODIAS
Yes, you have sworn. Everybody heard you.
You swore it before everybody.
SALOME 69
HEROD
Be silent ! It is not to you I speak.
HERODIAS
My daughter has done well to ask the head of
Jokanaan. He has covered me with insults. He
has said monstrous things against me. One can
see that she loves her mother well. Do not yield,
my daughter. He has sworn, he has sworn.
HEROD
Be silent. Speak not to me ! . . . Come,
Salome^ be reasonable. You will be reasonable,
will you not? I have never been hard to
you. I have ever loved you. ... It may
be that I have loved you too much. Therefore
ask not this thing of me. This is a terrible
thing, an awful thing to ask of me. Surely, I
think you are jesting. The head of a man that
is cut from his body is ill to look upon, is it not ?
It is not meet that the eyes of a virgin should
look upon such a thing. What pleasure could
you have in it ? None. No, no, that is not what
you desire. Hearken to me. I have an emerald,
70 SALOME
a great round emerald, which Caesar's minion
sent me. If you look through this emerald you
can see things which happen at a great distance.
Caesar himself carries such an emerald when he
goes to the circus. But my emerald is larger.
It is the largest emerald in the whole world.
You would like that, would you not ? Ask it
of me and I will give it you.
SALOME
I demand the head of Jokanaan.
HEROD
You are not listening. You are not listening.
Suffer me to speak, Salome.
SALOME
The head of Jokanaan.
HEROD
No, no, you would not have that. You say
that to trouble me, because I have looked at
you all this evening. It is true I have looked
at you all this evening. Your beauty troubled
me. Your beauty has grievously troubled me,
SALOME 71
and I have looked at you too much. But I will
look at you no more. Neither at things nor at
people should one look. Only in mirrors should
one look, for mirrors do but show us masks. Oh !
oh ! bring wine ! I thirst. . . . Salome, Salome,
let us be friends. Come now ! . . . Ah ! what
would I say ? What was it ? Ah ! I remember ! . . .
Salome nay, but come nearer to me ; I fear
you will not hear me Salome, you know my
white peacocks, my beautiful white peacocks,
that walk in the garden between the myrtles
and the tall cypress trees. Their beaks are
gilded with gold, and the grains that they eat
are gilded with gold also, and their feet are
stained with purple. When they cry out the
rain comes, and the moon shows herself in the
heavens when they spread their tails. Two by
two they walk between the cypress trees and the
black myrtles, and each has a slave to tend it.
Sometimes they fly across the trees, and anon
they couch in the grass and round the lake.
There are not in all the world birds so wonder-
ful. There is no king in all the world who
possesses such wonderful birds. I am sure that
W SALOMI2
Caesar himself has no birds so fair as my birds.
I will give you fifty of my peacocks. They will
follow you whithersoever you go, and in the midst
of them you will be like the moon in the midst of
a great white cloud. ... I will give them all
to you. I have but a hundred, and in the whole
world there is no king who has peacocks like
unto my peacocks. But I will give them all to
you. Only you must loose me from my oath,
and must not ask of me that which you have
asked of me.
[He empties the cup of wine.]
SALOME \
Give me the head of Jokanaan.
HERODIAS
Well said, my daughter ! As for you, you are
ridiculous with your peacocks.
HEROD
Be silent! You cry out always; you cry out
like a beast of prey. You must not. Your voice
wearies me. Be silent, I say. . . . Salome*,
think of what you are doing. This man comes
SALOME 73
perchance from God. I am sure that he comes
from God. He is a holy man. The finger of
God has touched him. God has put into his mouth
terrible words. In the palace, as in the desert,
God is always with him. ... At least it is
possible. One does not know, but it is possible
that God is for him and with him. Furthermore,
if he were to die some misfortune might happen
to me. In any case, he said that the day he dies
a misfortune will happen to some one. That could
only be to me. Remember, I slipped in blood
when I entered. Also I heard a beating of wings
in the air, a beating of mighty wings. These are
very evil omens. And there were others. I am
sure there were others, though I did not see them.
Well, Salome, you do not wish a misfortune to
happen to me ? You do not wish that. Listen
to me, then.
SALOME
Give me the head of Jokanaan.
HEROD
Ah ! you are not listening to me. Be calm.
I I am calm. I am quite calm. Listen. I
74 SALOME
have jewels hidden in this place jewels that
your mother even has never seen ; jewels that
are marvellous. I have a collar of pearls, set
in four rows. They are like unto moons chained
with rays of silver. They are like fifty moons
caught in a golden net. On the ivory of her
breast a queen has worn it. Thou shalt be as fair
as a queen when thou wearest it. I have amethysts
of two kinds : one that is black like wine, and one
that is red like wine which has been coloured with
water. I have topazes, yellow as are the eyes of
tigers, and topazes that are pink as the eyes of a
wood-pigeon, and green topazes that are as the
eyes of cats. I have opals that burn always
with an ice-like flame, opals that make sad
men's minds, and are fearful of the shadows. I
have onyxes like the eyeballs of a dead woman.
I have moonstones that change when the moon
changes, and are wan when they see the sun. I
have sapphires as big as eggs, and as blue as blue
flowers. The sea wanders within them and the
moon comes never to trouble the blue of their
waves. I have chrysolites and beryls and chryso-
prases and rubies. I have sardonyx and hyacinth
SALOME 75
stones, and stones of chalcedony, and 1 will give
them all to thee, all, and other things will I add to
them. The King of the Indies has but even
now sent me four fans fashioned from the feathers
of parrots, and the King of Numidia a garment
of ostrich feathers. I have a crystal, into which
it is not lawful for a woman to look, nor may
young men behold it until they have been beaten
with rods. In a coffer of nacre I have three
wondrous turquoises. He who wears them on
his forehead can imagine things which are not,
and he who carries them in his hand can make
women sterile. These are treasures of great
value. They are treasures without price. But
this is not all. In an ebony coffer I have
two cups of amber that are like apples of gold.
If an enemy pour poison into these cups, they
become like apples of silver. In a coffer in-
crusted with amber I have sandals incrusted with
glass. I have mantles that have been brought
from the land of the Seres, and bracelets decked
about with carbuncles and with jade that
come from the city of Euphrates. . . . What
desirest thou more than this. Salom ? Tell me
76 SALOME
the thing that thou desirest, and I will give it
thee. All that thou askest I will give thee, save
one thing. I will give thee all that is mine, save
one life. I will give thee the mantle of the
high priest. I will give thee the veil of the
sanctuary.
THE JEWS
Oh ! oh !
SALOME
Give me the head of Jokanaan.
HEROD [sinking bach in his seat]
Let her be given what she asks ! Of a truth she
is her mother's child ! [The firsl soldier approaches.
Herodias draws from the hand of the Tetrarch the ring
of death and gives it to the soldier who straightway
bears it to the Executioner. The Executioner looks
scared.] Who has taken my ring? There was
a ring on my right hand. Who has drunk my
wine ? There was wine in my cup. It was full
of wine. Someone has drunk it ! Oh ! surely
some evil will befall some one. [The Executioner
goes down into the cistern.] Ah ! Wherefore did
77
I give my oath ? Kings ought never to pledge
their word. If they keep it not, it is terrible,
and if they keep it, it is terrible also.
HERODIAS
My daughter has done well.
HEROD
I am sure that some misfortune will happen.
SALOME [she leans over the cistern and listens]
There is no sound. I hear nothing. Why
does he not cry out, this man ? Ah ! if any man
sought to kill me, I would cry out, I would
struggle, I would not suffer. . . . Strike, strike,
Naaman, strike, I tell you. . . . No, I hear
nothing. There is a silence, a terrible silence.
Ah ! something has fallen upon the ground. I
heard something fall. It is the sword of the
headsman. He is afraid, this slave ! He has
let his sword fall. He dare not kill him. He
is a coward, this slave ! Let soldiers be sent.
[She sees the Page of Herodias and addresses him.]
Come hither ! Thou wert the friend of him who
is dead, is it not so ? Well, I tell thee, there are
78 SALOM
not dead men enough. Go to the soldiers and
bid them go down and bring me the thing I ask,
the thing the Tetrarch has promised me, the
thing that is mine. [The Page recoils. She turns
to the soldiers.] Hither, ye soldiers. Get ye
down into the cistern and bring me the head of
this man. [The soldiers recoil.] Tetrarch, Tetrarch,
command your soldiers that they bring me the
head of Jokanaan.
[A huge black arm, the arm of the Executioner,
comes forth from the cistern t bearing on a silver
shield the head of Jokanaan. Salome seizes it.
Herod hides his face with his cloak. Herodias
smiles and fans herself. The Nazarenes fall on their
knees and begin to pray]
Ah ! thou wouldst not suffer me to kiss thy
mouth, Jokanaan. Well ! I will kiss it now. I will
bite it with my teeth as one bites a ripe fruit.
Yes, I will kiss thy mouth, Jokanaan. I said it ;
did I not say it ? I said it. Ah ! I will kiss it
now. . . . But, wherefore dost thou not look
at me, Jokanaan ? Thine eyes that were so ter-
rible, so full of rage and scorn, are shut now.
Wherefore are they shut ? Open thine eyes ! Lift
SALOMfc 79
up thine eyelids, Jokanaan ! Wherefore dost thou
not look at me ? Art thou afraid of me, Jokanaan,
that thou wilt not look at me ? , . . And thy
tongue, that was like a red snake darting poison,
it moves no more, it says nothing now, Jokanaan,
that scarlet viper that spat its venom upon me.
It is strange, is it not ? How is it that the red
viper stirs no longer ? . . . Thou wouldst have
none of me, Jokanaan. Thou didst reject me.
Thou didst speak evil words against me. Thou
didst treat me as a harlot, as a wanton, me, Salome,
daughter of Herodias, Princess of Judaea ! Well,
Jokanaan, I still live, but thou, thou art dead, and
thy head belongs to me. I can do with it what
I will. I can throw it to the dogs and to the
birds of the air. That which the dogs leave,
the birds of the air shall devour. . . . Ah,
Jokanaan, Jokanaan, thou wert the only man that
I have loved. All other men are hateful to me.
But thou, thou wert beautiful ! Thy body was
a column of ivory set on a silver socle. It
was a garden full of doves and of silver lilies.
It was a tower of silver decked with shields
of ivory. There was nothing in the world so
80 SALOME
white as thy body. There was nothing in the
world so black as thy hair. In the whole world
there was nothing so red as thy mouth. Thy
voice was a censer that scattered strange per-
fumes, and when I looked on thee I heard a
strange music. Ah ! wherefore didst thou not
look at me, Jokanaan ? Behind thine hands and
thy curses thou didst hide thy face. Thou didst
put upon thine eyes the covering of him who
would see his God. Well, thou hast seen thy
God, Jokanaan, but me, me, thou didst never see.
If thou hadst seen me thou wouldst have loved
me. I, I saw thee, Jokanaan, and I loved thee.
Oh, how I loved thee ! I love thee yet, Jokanaan.
I love thee only. ... I am athirst for thy
beauty ; I am hungry for thy body ; and neither
wine nor fruits can appease my desire. What
shall I do now, Jokanaan? Neither the floods
nor the great waters can quench my passion. I
was a princess, and thou didst scorn me. I was
a virgin, and thou didst take my virginity from
me. I was chaste, and thou didst fill my veins
with fire. . . . Ah ! ah ! wherefore didst thou not
)ook at me, Jokanaan? If thou hadst looked at
THE CLIMAX
SALOME 81
me thou hadst loved me. Well I know that thou
wouldst have loved me, and the mystery of love
is greater than the mystery of death. Love only
should one consider.
HEROD
She is monstrous, your daughter, she is alto-
gether monstrous. In truth, what she has done
is a great crime. I am sure that it is a crime
against an unknown God.
HERODIAS
I approve of what my daughter has done. And
I will stay here now.
HEROD [rising]
Ah ! There speaks the incestuous wife ! Come !
I will not stay here. Come, I tell you. Surely
some terrible thing will befall. Manasseh, Issa-
char, Ozias, put out the torches. I will not look
at things. I will not suffer things to look at me.
Put out the torches ! Hide the moon ! Hide
the stars ! Let us hide ourselves in our palace,
Herodias. I begin to be afraid.
[The slaves put out the torches. The stars dm-
appear. A great black cloud crosses the moon and
82 SALOME
conceals it completely. The stage becomes very dark.
The Tetrarch begins to climb the staircase.]
THE VOICE OF SALOME
Ah ! I have kissed thy mouth, Jokanaan, I
have kissed thy mouth. There was a bitter
taste on thy lips. Was it the taste of blood ? . . .
But perchance it is the taste of love. They
say that love hath a bitter taste. . . . But what
of that ? what of that ? I have kissed thy mouth,
Jokanaan, I have kissed thy mouth.
[A moonbeam falls on Salome, covering her tvith
light}
EROD [turning round and seeing Salome]
Kill that woman !
[The soldiers rush forward and crush beneath
their shields Salome, daughter of Herodias, Princess
of Judcea.]
CURTAIN.
CUI, I)E I.AMTF.
THE EARLY WORK OF
AUBREY BEARDSLEY
WITH AN INTRODUCTION BY H. C. MARILLIER
Demy 4te. l Us. 6d. net
HTHIS handsome volume was originally published soon after
Beardsley's death. It contains most of his work up
to the time of his ceasing to be associated with the art
editorship of "The Yellow Book," and includes the remark-
able designs illustrating " Salome," long since out of print.
These are considered by the critics as among the best and
most individual work he did. There are in all upwards of
1 80 reproductions, in addition to two characteristic photo-
graphs of Beardsley, taken by Mr. Frederick H. Evans.
THE LATER WORK OF
AUBREY BEARDSLEY
Demy 4to. i Us. 6d. net
a limited Edition of one hundred and twenty
copies for England and America^ printed on Japanese
Vellum, 105s. net (originally published at 84$. et)>
*~PHIS collection was not published until nearly three years
after Beardsley's death, and contains most of the designs
not included in "The Early Work." The two volumes
thus form an almost complete record of his artistic produc-
tion. In all there are upwards of 170 reproductions.
In the Japanese Vellum edition several illustrations are
reproduced in photogravuie, instead of half-tone as in the
ordinary edition, whilst the frontispiece is hand-coloured.
BEN IONSON, HIS VOL-
PONE : OR THE FOX
A NEW EDITION, WITH A CRITICAL ESSAY
ON THE AUTHOR BY VINCENT O'SULLIVAN
And Illustrations by AUBREY BEARDSLIY
Demy 410. Price 108. 6d. net
(Originally published at jt. 6d. net)
# * # The Ordinary Edition is limited to one thousand copies.
The Japanese Vellum Edition^ limited to one hundred
copies, is now out of print,
VTR. ROBERT ROSS in his eulogy considers 1896 as
Beardsley's annus mirabilis, and remarks that it would
be impossible to believe he could have surpassed the work
of that year but for the illustrations to '* Volpone." They
characterise in a very marked manner the singular genius,
both in creative faculty and draughtsmanship, of the artist.
THE RAPE OF THE LOCK
BY ALEXANDER POPE
With Nine Full-page Illustrations by AUBRCY BEARDSLKY
Demy i6mo. Leather 33. net. Cloth 2s. net
% The Japanese Vellum Edition and the Original
Edition are both exhausted.
TDERHAPS, with the exception of the series of drawings
* illustrating " Salome^" no designs are more character-
istic, more strikingly original, than those contained in
"The Rape of the Lock."
UNDER THE HILL
AND OTHER ESSAYS IN PROSE AND
VERSE INCLUDING TABLE TALK
BY AUBREY BEARDSLEY
With numerous Illustrations by the Author
Crown 410. Price 75. 6d. net
# % tAlso an edition printed upon Japanese Vellum, limited
to fifty copies for England and ^America. Price % Is, net
r I A HE increasing popularity of Aubrey Beardsley volumes
of drawings has prompted his publisher to re-issue his
literary remains, if he may so style them. In this volume
are gathered together his literary contributions in verse and
prose to "The Savoy," his Table Talk, and two letters
written to the Press in reply to criticism, which are
characteristic of the humorous courtesy with which
Beardsley received adverse or scornful criticism, contenting
himself with the weapons of courtesy and humour. There
are also included in this volume several hitherto unpublished
designs which are of great interest to all lovers of his work.
THE YELLOW BOOK
AN ILLUSTRATED QUARTERLY
LITERARY EDITOR HENRY HARLAND
ART EDITOR (Vols. I to IV) AUBREY BEARDSLEY
Fcap. 4to. Price 6s. net. 13 Volumes
TT was in his capacity as art-editor of "The Yellow
Book" that Beardsley made his first claim to public
notice. The earlier volumes contain twenty designs from
his pencil, in addition to a number of others from the best-
known black and white artists of the day.
A PORTFOLIO OF AUBREY BEARDSLEY'S
DRAWINGS ILLUSTRATING OSCAR WILDE'S
SALOME
Folio. 1 3ix 10^ inches. Price us. 6d. net
'yHE designs of the late Aubrey Beardsley are here
reproduced for the first time, the actual size of the
originals, viz. 9 x 6| inches, and are printed upon Japanese
vellum. Included among them is a drawing originally done
as an illustration to "Salome," but not included in the
volume when published. This masterly series of designs is
without doubt Beardsley's chef d'oeuvre, and the Care which
hag been taken in the production ot the blocks makes
prints equal in effect to the originals themselves.
SALOME
A tragedy in one act translated from the French of OSCAR
WILDE, with an Introduction by ROBERT Ross, with seven-
teen lull-page Ilh>stratJ'.Mis by AUBREY BEARDSLEY.
Fcap. 410. 8 x 6 inches. Price IDS. 6d, net
Also an Unillustrated Edition, with a Cover Design by
AUBREY BEARDSLEY.
Royal 1 6 mo. 6J x 5 inches. Price zs. 6d. net
AUBREY BEARDSLEY
By ROBERT ROSS
With 16 full-page Illustrations by AUBREY BEARDSLEY, and
a revised iconography by AYMER VALLANCE.
Crown 8vo. 33. 6d. net
ILLUSTRATED BY VERNON HILL
THE ARCADIAN CALENDAR
FOR 1910. A Series of 12 Designs descriptive
of the Months,together with a Cover and Title-page.
Folio. 33. 6d. net
Press Opinions.
Illustrated London News. "Mr. John Lane may be congratu-
lated on having discovered another artist of striking originality
and power. _The Arcadian Calendar bids fair to be the beginning
of a reputation."
Graphic. "Quite the most remarkable calendar that has been
published. Mr. Hill has a most remarkable fancy. . . . This
clever calendar."
World. "The drawings are all delightfully decorative, and
full of promise for the young artist's future."
Pali Mall Gazette." Mr. Vernon Hill shows imagination."
Art Journal. " The drawings are clever and show originality."
Literary World. "A genuine skill of draughtsmanship and
sense of design mark these drawings. . . . Distinctly clever, and
should find an appreciative reception."
New Age. " Mr. Vernon Hill's drawings are of great import-
ance. They point to a new illustrator of immense promise. His
work is strong, imaginative, arresting in ideas, full of decided
power and originality. It is destined to make a stir."
Sphere. "The drawings are undeniably clever."
Studio. " We must congratulate Mr. Hill upon the fine quality
of his black chalk drawing. We shall look forward to seeing more
work of this clever and original artist."
Daily Graphic. "A calendar which discloses an unusual
amount of ingenuity and an imaginativeness of design quite out
of the common."
Country Life. " There is real originality in the book."
Dublin Daily Express. " No more remarkable artistic pro-
duction has appeared for a considerable time."
THE NEW INFERNO. BY STEPHEN
PHILLIPS. An Edition de Luxe printed on hand-made
paper. With 16 full-page Drawings, End-papers, Title-page,
and a Cover Design by VERNON HILL. Limited to 320
copies. 218. net.
BALLADS WEIRD AND WON-
DERFUL. With Designs by VERNON HILL. 2i. net.
ILLUSTRATED BY AUSTIN O. SPARE
A BOOK OF SATYRS. THIR-
TEEN DESIGNS. BY AUSTIN O. SPARE
LARGE FOLIO. (17 x 13 in.) Price 2i/.net
IN a previous volume of drawings, Mr. Spare attracted
attention with one of the most extraordinary series of
designs since Beardsley a series of elemental riddles that
the sphinx of his imagination had suggested. Mr. Spare
had sounded a new note in art. In the present collection
of Satires, or, as he delights to call them, "Satyrs," he
shows himself as unflinching a reformer as Swift. He flogs
the hypocritical vices of his age, and flogs them mercilessly.
He deals with Quackery, Intemperance, Fashion, Politics,
the Beauty Doctor, Officialism, etc., etc., and he con-
tinually achieves the unexpected. Of the present work
only 300 copies were printed for England and America,
of which 105 remain unsubscribed for.
THE STARLIT MIRE:
EPIGRAMS BY JAMES BERTRAM and
F. RUSSELL. : : With 10 Drawings by
AUSTIN O. SPARE. Small 4 to. 7s.6d. net.
Illustrated by CHARLES DANA GIBSON
DRAWINGS. Eighty-five Large Cartoons. Oblong folio, aos.
PICTURES OK PEOPLE. Eighty-five Large Cartoons. Oblong
folio, aos.
SKKTCHES AND CARTOONS. Oblong folio, aos.
THE EDUCATION OF MR. PIPP. Eighty full-page Cartoons.
Oblong folio, aos.
AMERICANS. Full-page Cartoons. Oblong folio, aos.
A WIDOW AND HKR FRIENDS. Large Cartoons. Oblong folio.
aos.
THE SOCIAL LADDER. Large Cartoons. Oblong folio, aos.
THE WEAKER SEX. Large Cartoons. Oblong folio. aos.
EVERY-DAV PEOPLE. Large Cartoons. Oblong folio, aos.
OUR NEIGHBOURS. Large Cartoons. Oblong folio, aos.
OTHER PEOPLE. Large Cartoons. Oblong folio, aos.
JOHN LANE, THE BODLEY HEAD, LONDON, W.
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